Bernard Lubat pursues a jazz experiment which is “TOO BOT to be true”: cyber-human improvisations with thecomputer under the aliases of Djazz, OMax, and SoMax, three pieces of software created and operated byGérard Assayag and Marc Chemillier, who are researchers and craftsmen as well as musicians.After Lubat/Luc, Lubat/Sclavis and Lubat/Portal, the dialogue becomes cyber-human. From these experimentsof collective indiscipline, either live or in the lab, both the unthought and the unthinkable emerges: a naturalartificialform of jazz. In turn, this raises questions and discussions on the ways artificial intelligence can beapplied to music, as well as the philosophical, social and creative implications of such new interplay within therealm of musicality.